Jan Van Eyck Madonna in the Church

Madonna in a perform is a small oil panel on oak by Flemish painter Jan van Check. Madonna in a church building building was made among c. 1438-1440. vanguard Check has been traditionally credited with the wile of painting in oils, and, although this is incorrect, there is no doubt that he was the certain master of the technique. The use of oil paints is very signifi tidy sumt in this operativerys luminescent quality and presentation of space. The artist creates a new relationship between the viewer and the picture.There is an illusion of a sophisticated, tatterdemalions scene and through this new to a greater extent attraction, feellike approach, the viewer becomes connected to the painting, not Just in carnal terms, but societally, spiritually and emotionally as well. The minute we look at it the shimmering quality of the art stands out. Being only 12. 25 x 5. 5 its clear why its elaboration is so astonishing. The painting is very prospicient compared to its width, emph asizing the size of the Madonna and the tall structure of the church that it portrays.The artwork has brilliant intense warm colors, dominating brown and red and the smartness illustrated with kindling yellow. On Madonna in a Church, the artist represents a variety of subjects with striking legalism in microscopic detail. The pigment was suspended in a layer of oil that also trapped light, this way Van Check created a Jewel-like medium. On the Madonnas crown and Jewelry we find oneself brilliant precious metals and gems and also, with the help of this technique he could give a feel like impression to light. The colors are so luminous that the charge of five hundred years has barely diminished them.There are so many details and elements to discover on the painting that the eye has a constant exercise inside the picture. From the first view we can give out that the artwork is narrative and descriptive. Van Check had a sharp keen look of the world but he put this look into a fi ctional environment. The painting was stolen in 1877 and the frame was not found. Despite this absence we still have an impression of a frame because the cathedral midland is viewed at an angle. From this consecrate the doorway has a frame effect to the painting.The framing of the doorway is round, following the ceiling and with this circle effect leading our look to the main figure, bloody shame. Van Check has followed traditional theology his realist art displayed in iconic and allusive forms the Churchs teachings and popular piety. Yet at the same time, he played with symbolism, which is evidently present in the artwork. The Madonnas size is surreal, very boastfully in proportion to the interior of the exceptionally beautiful church. This is a symbolic niche, giving her all the importance. Byzantine painters used this method for the same purpose.In the background, angels egress to be singing from hymn books or saying Mass sooner her altar. The image of light has a hea vy vision, the rays of the sun come preternaturally from the north to strike through the glass and hit the floor with inanimate realism. Two lolls of sunlight on the floor in front of bloody shame come from a direction that defies natural law. Therefore the light is mystical, a symbol of God. We can see it penetrating the church Just as the Holy Ghost entered and impregnated the body of the Virgin, in direct opposition to the laws of flesh.The perspective and lighting seem to be so natural, until we think about it we dont see that its unnatural, and that it is actually a sacred light. Maybe this is a way to pull that what is religious was incorporated into everyday life, that even a Heavenly light had to become like daylight under Jan Van Cocks paintbrush. The virgin takes her place in the center, gently swaying, she seem to follow her own gaze. Her hair is red throughout the ages red-haired women have had significance in the arts. They are viewed as incomparable and mystical, J ust like Mary.She has a beautiful tracery stern her wooden carving, the stories of her life. It is especially important in the Northern Renaissance, because they used the Juxtaposition of the presented sacred graphic symbol and then an object or artwork of the exact same personage on the picture, referring to Biblical times. We see a sculpture of Christ behind her, while the baby Jesus is in her arms. She is presented in the everyday life of those people living in the 15th century and part of their modern culture. The church is richly decorated, in the Gothic style.Jan Van Check pays attention to detail in his painting of architectural interiors, done with unrelenting accuracy. The church is an important symbol of Marry chastity. Its an Ideal church, Jan Van Cocks fantasy of a perfect interior to enthrone Mary. This is a way to represent the heavenly sphere in an environment that the people of the time period can recognize. Concluding from the small size of the painting, it was not a painting knowing for a huge Gothic church where most paintings were much giantger in proportion. It was probably made for a wealthy man at the time.In the Renaissance it was common for wealthy people to collect artworks, it had a social significance. Above this, religious paintings and prayer books were manifestations of commitment to prayer. The Flemish didnt limit their reflection of piety to the public realm, the individuals commissioned artworks for private use in their homes as well. Ideology of the time also influenced the painting. The Madonna is holding the child that is conjectural to be Christ. Her face is turned away from the child, achieving a less busy look. The scene is all about her.In Van Cocks painting, the child is a hard-nosed baby emphasizing the unselfishness of Christ. The interpretation of this can be the point that Mary was a human, and in the Renaissance, humanism had a very big impact. After the neglected human dimension of the Middle Ages, the Renaissance brings humanity in focus again with the development of art, technology, and inventions. Van Check gives Mary three roles Mother of Christ, the personification of the Christian Church and Queen of Heaven, the last mentioned apparent from her Jewel-studded crown.The painting is majestic and luminous, it lights up like a dream. merely at the same time the message is both worldly and devout, the artist set out to satisfy both demands, but in a form of realism that contained within itself a playful, even ironic pose towards the relations existing between individuals, society and religion. Sources Graham, Jenny. Inventing van Check the make over of an artist for the modern age. Oxford Berg, 2007. Print. Harrison, Craig. Jan van Check the play of realism. London reception Books , 1991. 188. Print.